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June 2019 – assorted upcoming London gigs – Block4 and Lynda Beckett’s multi-media recorder concert (15th), Arch Garrison, Charles Bullen and Kavus Torabi play Clapham Library (15th); cellotronics-and-percussion improv with BirdWorld at Wigmore Hall (18th June); North Sea Radio Orchestra, John Greaves, Annie Barbazza and others reinvent Robert Wyatt in ‘Folly Bololey’ (27th)

11 Jun

Classical/experimental recorder quartet Block4 (featuring Emily Bannister, Lucy Carr, Katie Cowling and Rosie Land on a variety of instruments from bass to sopranino) are offering a mingled kids’ workshop and multi-media live concert – ‘The Art Of Sound’ – this coming Saturday down in Lewisham. Exploring links between music and visual art, the ‘Stargazing’ concert is a live collaboration with line artist Lynda Beckett, who’ll be creating spontaneous artwork (pursuing “sensual, the rhythmic and the non-binary” via line art in which “the glitch and the eternal return are welcome”) during the course of the show.

Block4 & Lynda Beckett: 'The Art of Sound' - 15th June 2019

While I’ve not got much info in terms of a programme, the music will be in keeping with Block4’s wide-spanning approach to genre, which in the past has mixed Renaissance and Baroque music with reinterpretations of Jimi Hendrix, “contemporary consort” ideas involving electronics, and more. It will include a new piece by Andrew Crossley, a composer whose inspirations include Zen Buddhism and a sheaf of hybrid forms of criticism (so expect something with plenty of silences and digressions, perhaps). Here’s an earlier electro-acoustic minimalist piece which Andrew wrote for sub-great bass recorder (travelling from borderline-subliminal low register to a resonant temple-horn call and back again), along with a couple of examples from Block4’s existing repertoire.

 

The workshop, taking place in the morning, ties in with the concept – allowing kids (from six-year-olds upwards) to “explore music performance, composition, drawing, and (to) creat(e) their own unique work of art to take home.” Best to book early for that one.

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Arch Garrison + Charles Bullen + Kavus Torabi, 15th June 2019The timing of the Block4 events also gives you time to slip across London (from the south-east to the south-west) on the same day, in order to take in one of the Lambeth Readers & Writers Festival gigs taking place in the atrium at Clapham Library. Back in April, they hosted the Peter Blegvad Quintet. This month, even as Craig Fortnam limbers up his North Sea Radio Orchestra for an upcoming Café Oto show, he and fellow NSRO-er James Larcombe slip on their guise as the Arch Garrison duo and head down Clapham-wards.

Arch Garrison take the implied baroque in folk baroque and draw it fully out into the light. Craig’s amplified gut-strung fingerstyle acoustic guitar playing has as much Spanish classical to it as it does bullish John Martyn counterpoint (though he’ll more readily cite African-Arabic inspirations like Ali Farka Touré), while James’ dextrous post-classical work on vintage-sounding monosynths makes joyously assured connections between chapel organ studies, progtronic flourishes and psychedelic sound webbings. The Garrison have sometimes been compared to Robyn Hitchcock and Nick Drake, and draw from Tim Smith’s eccentric, unlikely folk wellspring, but they don’t sound like anyone nearly as much as they sound like themselves. The songs, sung in Craig’s soft demotic Wyatt-esque sprawl, start with a lone walking man and travel downwards into conceptual strata of history, geography, familial relationships, art and ageing.



 
There will also be sidestepping solo support sets from Gong/Knifeworld expostulator Kavus Torabi (continuing to mine the unsettled psychedelic angst of his dark-sun guitar-and-harmonium solo EP ‘Solar Divination’ and a related upcoming solo album) and from Charles Bullen, one of the triumvirate behind Camberwell proto-punk experimentalists This Heat during the late ‘70s and early ‘80s (and, more recently, behind the band’s recently-retired latter-day reimagining This Is Not This Heat). I’ve no idea whether Charles will be singing; whether he’ll be playing along with guitar, viola, a mess of programmed samples or his clarinet: whether and how the music will connect to This Heat’s experimental jazz-prog collage polemics, the pocket-dub work he explored with Lifetones or the bright and mellow synth-rock sparkle of his Circadian Rhythms project; or even whether he’s going to be starting anew with a completely fresh slate. Anticipate anything.

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North Sea Radio Orchestra/John Greaves/Annie Barbazza, 27th June 2019

Returning to Craig Fortnam – and indeed, to Robert Wyatt – his North Sea Radio Orchestra concert is on 27th June. It’s the live British debut of the NSRO’s ‘Folly Bololey‘ project, which also incorporates Henry Cow bassist/art-rock chansonnier John Greaves and rising prog/art-ensemble singer Annie Barbazza.

North Sea Radio Orchestra/John Greaves/Annie Barbazza, 27th June 2019‘Folly Bololey’ has been around in one shape or form for half a decade, being played at arts concert and Rock In Opposition events in continental Europe, but has only just now crossed the Channel to be performed in Britain. Gently picking up, re-arranging and re-performing various Wyatt works (centring on a complete performance of the ‘Rock Bottom’ song cycle), it sets Wyatt’s flowing, unspooling songs of love, grief, plaintive nonsense and recovery against the pastoral raincloud tug of NSRO’s alt.crossover sensibilities. The results are an interesting blending of Wyatt’s mouth-music jazzing and his deliquescing, playfully vulnerable search for meaningfulness against NSRO’s own softly-yielding Anglo-pastoral formalism (which in turn echoes the open-to-all concert music of another Fortnam forebear, David Bedford).

With Craig acting as master of ceremonies on guitar and Farfisa organ, rounding out the ensemble are NSRO reed and cello regulars Nicky Baigent, Luke Crookes and Harry Escott plus Greaves band member Laurent Valero on strings and recorders and William D. Drake (the former Cardiacs keyboard wizard who turned into a touchingly surreal, avuncular chamber-folkster). Handling the tuned and untuned percussion are Gong drummer Cheb Nettles and vibraphonist Tommaso Franguelli (from Piacenza percussion group Tempus Fugit).


 
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On Tuesday 18th, cello/electronics/percussion duo BirdWorld are playing an informal set at the Wigmore Hall’s Bechstein Bar. (When I last touched on them here, they were playing the Frome Festival three years back – too long ago.)

BirdWorld, 18th June 2019

Migrating between twin home-bases of London and Oslo, BirdWorld are cellist/effects twiddler Gregor Riddell and drummer/percussionist Adam Teixeira. For a while, guitarist Alex Stuart was also in the picture; but it’s always been about the core duo, who met in Canada, discussed electronic/acoustic blendings and built from there. Aspects of improvisation, jazz, field recordings and cross-cultural music – plus experimental rock and classical and a battery of kalimbas – wing lightly in and out of their work, which has included film scoring and radio work; and (as of this year) their five-year-delayed debut EP ‘TING TAR TID’, released (in keeping with BirdWorld’s folkloric leanings) on the vernal equinox.


 
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All dates:

Block4 & Lynda Beckett: ‘The Art Of Sound’
St Mary the Virgin Parish Church, 346 Lewisham High Street, Lewisham, London, SE13 6LE, England
Saturday 15th June 2019 – children’s workshop 10.00am, concert 3.00pm
(concert free for under-18 year olds) – information here

Lambeth Readers & Writers Festival presents:
Arch Garrison + Charles Bullen + Kavus Torabi
Clapham Library, 91 Clapham High Street, Clapham, London, SW4 7DB, England
Saturday 15th June 2019, 7.00pm
– information here and here

BirdWorld
Bechstein Bar @ Wigmore Hall, 36 Wigmore Street, Marylebone, London, W1U 2BP, England
Tuesday 18th June 2019, 6.15pm
– information here and here

North Sea Radio Orchestra/John Greaves/Annie Barbazza play ‘Folly Bololey’ (Robert Wyatt’s ‘Rock Bottom’)
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Thursday 27th June 2019, 7.30pm
– information here and here
 

June 2019 – the start of Daylight Music’s summer season in London – The Slowest Lift, Laura Jurd & Chris Batchelor, ORE and Jim Bishop (1st June); Jam Tarts Choir, Independent Country and Sarah Gonputh (8th June); ‘From Call To Choir’ with Dominic Stichbury, Ben See, Esmeralda Conde Ruiz, Archie and a clutch of chorals (15th June), Piney Gir, She Choir and Oly Ralfe (22nd June); Xenia Pestova Bennett, Ligeti Quartet, Snowpoet, Muted Summer Landscape and the magnetic resonator piano (29th June)

28 May

Daylight Music 10, 2019

Currently in the process of celebrating a remarkable ten years of bringing cuddly/eclectic pay-what-you-can family music events to London (or, more accurately, of encouraging inspiring music to happen with the minimum of cynical compromises while ensuring that there’s a family-friendly space for it to happen in), Daylight Music is back for another season of Saturday lunchtime gigs with all manner of different people playing.

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The summer season launch gig, on 1st June, focusses on experimental brass-themed acts:

Daylight Music 307: The Slowest Lift + Laura Jurd & Chris Batchelor + ORE - 1st June 2019

“West Yorkshire’s The Slowest Lift (Sophie Cooper and Julian Bradley), present a new chapter in the long-running tradition of radical English music duos. Cooper (an accomplished solo performer and collaborator) and Bradley (from frequent VHF delinquents Vibracathedral Orchestra) play a kind of gentle post-industrial psychedelia, a ghostly tapestry of earthen whirring, phantasmal resonances, sheets of textured skree and touching, hazy vocals. The songs are a blend of straightforward performance and eccentric bricolage, with rude electronic interjections sitting comfortably alongside delicate guitar and keyboard melodies.



 
Laura Jurd and Chris Batchelor will perform as a duo. Laura is a London-based, award-winning trumpet player and composer, currently a BBC New Generation Artist for 2015-2017: an active improviser playing regularly in the UK and more recently in Europe, she specialises in writing for hand-picked musicians in her own projects and ensembles. Her band Dinosaur has performed throughout the UK and Europe. Chris is an innovative and creative trumpet player and composer based in London: as well as leading several projects, including the avant-trad band Pigfoot, he is also featured as a sensitive and versatile soloist in many highly regarded groups on the European jazz scene, and is a prominent soloist and composer in the re-formed Loose Tubes.



 
ORE is the drone/doom brass sound of tuba player Sam Underwood and baritone horn/trombone player Beck Baker. The pair create weighty dronescapes that evolve at a glacial pace. ORE’s sound rewards the patient listener as their dissonant tones rub together; enhanced by the use of two custom-built resonant gong speakers. The audience slowly becomes awash with the sound of ORE.


 
“We’re happy to announce that Jim Bishop will return to play the chapel’s own Gothic synth – the Henry Willis organ, joining the dots between the other main performers. Jim came to Daylight as part of all-male 60’s dance troupe The Action Men, who have returned a couple of times since. He plays in Ancient Egyptian instrumental group The Mirage Men, The Band Who Fell To Earth (who play Bowie in the style of Booker T. and The MGs) and The Fay Hallam Group, alongside another Daylight performer, Andy Lewis.”

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The ‘Come As You Are’ concert on 8th June sees the series dive into comfy covers again…

 
“Daylight Music goes to the indie disco in its own inimitable fashion with the Jam Tarts Choir and Independent Country, who will be teaming up for an unforgettable rendition of the Nirvana song of the event title, and expect a surprise or two on the Chapel’s organ…

“Independent Country, a six-piece band from Birmingham, play your favourite indie hits in a country music style. Here are songs originally by the Happy Mondays, the Smiths, Blur, Jesus and Mary Chain, Pulp and Oasis as you’ve never heard them before.


 
“Now into their fifteenth barnstorming year, Brighton’s Jam Tarts are an indie choral collective who perform unique and shimmering arrangements of post-punk, electro, Britpop and artrock classics. Four (or five or even eight) part harmonies, sixty pairs of mighty lungs and six degrees of celebration. Think choirs aren’t your cup of tea? You’ve never heard your favourite songs quite like this before…Their set is likely to include big choral versions of songs by Ezra Furman, The Stone Roses, Tom Waits, Jesus and Mary Chain and Arcade Fire. Hungover commuters on the 8.18 from Brighton can expect the train to be packed with singing Tarts, complete with trumpeters and cellist!


 
“Indie and alternative music was the natural choice for the choir after director and musical arranger Li Mills bribed John Peel with chocolate to help write her music degree finals thesis on punk, obliterating her early teenage record collection of Dire Straits and Phil Collins albums. Praise be to the late Mr Peel, or Jam Tarts might be singing Another Day in Paradise arranged for sixty voices…

Sarah Gonputh is a London-based keyboard player for Green Seagull, Manuela, Twink and The Lysergics. She has a special love for vintage organs such as the Vox Jaguar, Vox Continental, Farfisa Compact, The Philacorda and the Hammond Organ. Her keyboard-playing heroes include: Ray Mazareck of The Doors, Steve Winwood and Garth Hudson of The Band. Having performed several times at past Daylight Music events with Green Seagull, Manuela and playing piano for the “in-between” bits last year for The Left Outsiders, this will be Sarah’s Union Chapel Organ playing debut, pumping out some indie hits.”

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Choral ideas are developed further the following week with the ‘Call To Choir’ event, including a chance for you to join in…

Daylight Music 309: 'From Call To Choir' with Dominic Stichbury & Ben See with Esmeralda Conde Ruiz + Archie (plus members of Chaps Choir, Bellow Fellows, Electric Belles and the Grandmother project) - 15th June 2019

“What happens when the call of one voice captures the imagination of others? Starting with one singer and finishing with hundreds, this edition of Daylight Music will see numbers of voices grow to fill every corner of the Union Chapel.

Dominic Stichbury (Chaps Choir, Bellow Fellows) and Ben See (La La La Records) are exploring the themes of expansion, commonalty and togetherness through the human voice; and are gathering singers together to celebrate its infectious power. The performance will include an eclectic mix of singers and songs, including new material written especially for the event, featuring female folk/jazz vocal quartet Archie, Ben See, Esmeralda Conde Ruiz and the GrandMother project, Chaps Choir, Bellow Fellows and Brixton-based “all girl, all awesome” close-harmony choir Electric Belles.

“Would you like to join the biggest ever choir to sing at Daylight Music? All welcome. No choir/performing experience is required, just fill in the online form, turn up for the preparation sessions (on Friday 14th) and take part in the final event. You will learn some short songs in harmony by ear and prepare to sing them with hundreds of other voices in the wonderful acoustics of the chapel.”



 
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More choral covers blend with pianos, pop and psychedelia on the 22nd when Piney Gir gets her hands on the reins…

Daylight Music 310: Piney Gir's 'Midsummer Madness' with She Choir + Oly Ralfe - 22nd June 2019

“Piney Gir’s perfect pop music is dipped in sunshine, so she was an obvious choice to curate a special event inspired by the Summer Solstice as part of our 10th Year celebration. She wants you to get playful, be creative, and come along for summertime inspiration and maybe even do a little white witchy spell with her in honour of The Longest Day.

“Originally hailing from Kansas, but having lived in London for many years, Piney is a prolific and prodigious musician. She has been touring with Gaz Coombes around the UK, Europe and America and is also one of Gaz’s backing singers. She has recently been singing with Noel Gallagher and Danny Goffey, and supported Ride on tour around the UK just before Christmas. She’s gearing up to release her seventh album, ‘You Are Here’, which is a celebration of analogue gear with a sound that nods back to when music was on the cusp of change, just before synth pop and just after punk rock.


 
“Her allies on this afternoon will be London women’s SHE Choir who sing their technicolour version of songs from Destiny’s Child to Fleetwood Mac.

Oly Ralfe (Ralfe Band) will present music from his debut solo instrumental piano album. Sitting somewhere between the oscillating patterns of Philip Glass and the reflectiveness of Gavin Bryars, the album ‘Notes From Another Sea’ sounds like music for a film that has yet to be made.


 
“Finally, Piney presents a special acoustic set from Premium Leisure (a.k.a. Chris Barker) who has honed his own sound: a mix of experimental guitars and undulating rhythms reminiscent of late ’60s English psychedelic rock with a bit of early Tame Impala or White Denim thrown in.”


 
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The last of June’s gigs is a typically Daylight fusion of accessible classical and experimental ideas…

Daylight Music 311: 'Magnetic String Resonance' with Xenia Pestova Bennett + Ligeti Quartet + Snowpoet + Muted Summer Landscape - 29th June 2019

“What if you could play a note on the piano and have it last forever? Pianist, composer and improviser Xenia Pestova Bennett will curate a special afternoon featuring the Magnetic Resonator Piano, an exciting new instrument designed by the radical inventor Andrew McPherson. A grand piano will be completely transformed into a stunning acoustic cyborg with electromagnets suspended above the strings, allowing for control of minute details of shimmering resonance and gorgeous sustained tones. (Click here for an article on the instrument, from ‘Keyboard Perspectives’, and here for a ‘World Piano News’ article on its use in the soundtrack for last year’s film ‘Christopher Robin’…)


 
“Also performing will be string ensemble Ligeti Quartet who, since their formation in 2010, have established a reputation for breaking new ground through innovative programming and championing of today’s most exciting composers and artists.


 
“Completing this afternoon line-up, Xenia presents Snowpoet‘s debut at Daylight. The London-based band, led by “mesmerising” vocalist Lauren Kinsella and bassist Chris Hyson, have released two critically acclaimed albums to date, with the most recent being ‘Thought You Knew’ on Edition Records. Blending sweet hook-laden vocal lines with warm and lush arrangements, the music is infectious, delicate and tasteful.


 
“Joining the dots this week between the other artists is something a little bit special. We’re pleased to welcome Muted Summer Landscape, an audio/visual collaboration between electronic music composer Brian Robinson and visual artist Steve Lee who transform and shape their audio/visual field recordings, melodies and rhythms into delicate electronic portraits that often reflect the natural environments that surround them. Inspired by the simple and complex patterns that present themselves when manipulating source material, msl create immersive narratives that evoke emotions, stimulate imagination and provoke thought. Taking into account the architectural surroundings and the nature of this event, Brian will deliver a solo performance of live ambient/spectral transformations based on material taken from MSL’s forthcoming audio/visual release, expected later this summer.”


 
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All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – with a suggested donation of five pounds (as ever, an absolute bargain). Dates below:

  • Daylight Music 307: The Slowest Lift + Laura Jurd & Chris Batchelor + ORE – Saturday 1st June 2019, 12:00pm – information here and here
  • Daylight Music 308: ‘Come As You Are’ with Jam Tarts Choir + Independent Country – Saturday 8th June 2019, 12:00pm – information here and here
  • Daylight Music 309: ‘From Call To Choir’ with Dominic Stichbury & Ben See with Esmeralda Conde Ruiz + Archie (plus members of Chaps Choir, Bellow Fellows, Electric Belles and the Grandmother project) – Saturday 15th June 2019, 12:00pm – information here and here
  • Daylight Music 310: Piney Gir’s ‘Midsummer Madness’ with She Choir + Oly Ralfe – Saturday 22nd June 2019, 12:00pm – information here and here
  • Daylight Music 311: ‘Magnetic String Resonance’ with Xenia Pestova Bennett + Ligeti Quartet + Snowpoet + Muted Summer Landscape – Saturday 29th June 2019, 12:00pm – information here and here

Details on July’s Daylight concerts to follow in due course…
 

February/March/April/May 2019 – upcoming English experimental/rock gigs – Markers and Haress on tour with appearances by Tom House, Anji Cheung, Caius Burns and Aby Vulliamy; plus later dates with Jaye Jayle and Motes

23 Feb

One of the connections which particularly intrigues me (for which read “always baffles me and induces me to go over it again”) is the one between folk music and hardcore punk. Apparently it’s a love based on a number of things – the inclination towards keeping to the basics, the austerity which is fostered both by that and by a distrust of commercialism and toys, a sense of political purity and of dodging corruption… It’s perhaps a little one-sided – punk tends to love folk more, although you’ll get some acknowledgement coming back the other way, increasingly so as more young folkies grow up with punk. Regardless of the relative exchange, you’ll see quite a bit of traffic moving around here. An upcoming British tour looks into this particular dynamic and feel, at the stripped-down point where the genres meet: along the way, there are more overlappings and enfoldings.

Markers on tour, February-May 2019Markers’ Jodie Cox always seemed like a gifted guy that strolled into hardcore with a positive attitude, rather than hunching or raging his way into it. Even when he was blitzing and shrieking away at the front of short-lived London seedbedders Ursa during the late ‘90s, he seemed cheerfully unlimited by the constraints of form. Ever since then (via transatlantic journeys through Earth, Narrows, Bullet Union, Sex Swing, Exes and others) he’s always seemed to be where he wanted to be rather than being forced into it: a sunny, enthusiastic character who’s helped humanise and hearten any project he’s been in. Jodie’s bandmate, contemporary and friend Jason Carty began his career in the same time and place. Stubborn, meticulous and sometimes anxious, he twitched and reeled various fluent post-rock/prog/post-metal guitar complexities through Geiger Counter and Foe like a ferocious engraver, then threw all of that aside to play blattering post-hardcore doom bass in Art Of Burning Water before embracing silence for a number of years.

Now reunited and united, Jason and Jodie’s all-instrumental work as Markers sees the two of them eschewing other musicians and hairy-arsed distortion in order to see what they can get out of two (mostly) clean electric guitars. Their debut album ‘Heaven In The Dark Earth’ is a beautifully executed thing. As Jodie’s put it elsewhere, rather than roaring easily through fuzz they’re now aiming for something “tonally heavy” (Even if they have covered Jesus Lizard, they went for one of that gonzo band’s rarer gentle tunes, and it came out sounding like late lamented bass frowners Rothko.)

Markers’ music is immediately atmospheric, recorded at a larger-than-life scale in which the listener feels as if they’re about a foot high, wandering around the duo’s feet and their suddenly gargantuan amplifiers. When processing does turn up it’s mostly in the form of encompassing shivers of reverb, or discreet echo – wider brushstrokes and spongeings to complement delicate penwork. Apart from that it’s wood, wire, pickups and an intuitive, space-filled musical marriage between the two players, pursuing a fluid sparseness and a sombre/passionate flaring of arpeggios and arabesques, flotsam folk figures and fragments rubbed smooth enough for their provenance to stay ambiguous. It’s a kind of post-industrial classical guitar, making the most of sparse resources and close-mouthedness, mysterious conversations through fingers and dusty speaker-cones. These buggers always had a lot more depth than previous circumstances have allowed them to show: or perhaps, more than they allowed themselves to make clear. In Markers, they no longer have either of these problems.


 
Following their recent showing at a mid-February gig in Brighton (hands up, I admit that I missed it) Markers are setting out on tour with kindred spirits Haress. Hailing from arty market town Bishop’s Castle in Shropshire, Haress are fundamentally the guitar duo of David Hand and Elizabeth Still. Mantric, minimalist, low-hanging and close-knit, theirs is a music in which several tight and lowering musical disciplines meets. Art-rock, hardcore edge, meditational post-rock and American electric folk fragments emerge via very loud, mostly clean electric guitars (on the lip of distortion and at the precarious peak of electromagnetic responsiveness) and meet shruti and amp drones plus delicate percussion tingles. Below are a couple of clips of David and Elizabeth meeting inside and outside:



 
Haress sometimes expand for live dates. The current ones see them augmented by a third guitarist (Chris Summerlin of dubby Notts psych/noise-ians Kogumaza, accelerated post-Beefheart screamers Wolves of Greece, and bluescore trio Lord), by a singer (Tom House, best known as the frontman for a pair of Brighton bands, hollering post-hardcore act Charlottefield and its more tender-fleshed followup Sweet Williams) and by drummer David Smyth of Liverpudlian synthcore/space-punks Kling Klang. No clips for that, I’m afraid…

At the London show (also the Markers album launch, with ticket/LP/download bundles available for those who want them), Anji Cheungprovides “audio intermissions”. She was in here earlier this month being previewed at the Matthew Shaw/English Heretic show, sandwiched between rural synth ambience and psychogeographic audio-visual. I can’t immediately improve much on what I said about her back then, so here it is again – “unnerving, frowning amplifier buzzes rolling over the listener like a gigantic clumsy wheel, with dramatically chopped/distorted/otherwise incomprehensible vocals implying pirate-radio-eavesdropping on a covert ritual… car-boot clatter under a lowering sky… beautiful lost female murmur-melodies stalked by drainage-ditch fuzz…. Another aspect of New Weird Britain: ambiguously multicultural and urban, mixing and obscuring London and Chinese references, but sounding mostly as if it stems from a place where jerry-built tower blocks break up old fields around the city’s tired periphery and where unknown syncretic practises are carried out (perhaps only half-understood even by the people involved).”



 
In Nottingham, Kagoule’s frontman Caius Burns will be bolstering the evening: sidestepping the noisy fantastical post-hardcore of his main band to deliver an acoustic voice-and-guitar set of his own songs, all in an old-school folk baroque form complete with slippery Jantschian fingerpicking. (And here he is in transient mode, halfway between folk and electropop…)

 
The Shipley show is the most extensive on the mini-tour: a four-act event with Tom House stepping forward out of the Haress lineup to perform a set of his own queasy, sludgy, draggy-pop slowcore. Hometown girl Aby Vulliamy is also joining the evening. A multi-instrumentalist (piano, viola, flute, musical saw, accordion) and singer/composer across a remarkable range of genres, she was covered in here a few years ago via her part-written/part-improvised Mothercore project, in which she teamed up with established musicians Laura Cole and Maria Jardardottir plus an ever-shifting cast of local musician/mothers who joined in whenever the main trio rolled into their town. Mothercore was inspired by, and triggered by, the ambiguous experience of motherhood, and appears to have led into last year’s long-overdue Aby solo album, ‘Spin Cycle’.

If Mothercore thrived on solidarity, ‘Spin Cycle’ places itself, sometimes unnervingly, on “mother alone yet not alone”: its songs tracing their way across a webwork of maternal experience (broader voicings of political anger at the forcing of roles onto women of childbearing age; the claustrophobic vortex of love, fear and exhaustion surrounding breastfeeding; an awareness of the greater female timespan of girl baby to young woman, watched over by mother all the way). Depending on your gender, your situation and where you are in your own lifespan, it’ll either shed light onto a much generalised-over, much-misunderstood state of being, or simultaneously rue and celebrate what’s one of the greatest and most turbulent tasks, all to a DIY backing of diverse, intimate floating-folk instrumentation.





 
The final tour show, in Liverpool, is just Haress and Markers on their own. I can’t tell you where the Old Brazilian Embassy is, although longstanding Liverpudlians might be able to hazard a guess, while the organisers appear to be a collective who throw concerts at home and overlap with avant-garde rock ensemble Ex-Easter Island Head (so now you know who to chase up and pester if you really want to come). Apparently this isn’t the only show these guys are putting on, although the proximity of neighbours and license issues means that they’ve got to keep the volume down… Merseyside art musicians who operate at the quiet end of things, here’s a new place to beat a pathway to (if you can find it yourself).

Outside the tour, Haress and Tom House will also be plying their trade at a mid-March gig in Bristol, for which they’re joined by obscure Somersetters Motes, who come bearing the priceless label of “drunk-minimal/hypnotist-un-rock based at the ventriloquistic intersection of Barrow Gurney and Old Market”. There’s no way I can better that sentence – it’s its own short film, all by itself – but here they are, playing a couple of their lo-fi guitar-and-drum, barn-under-the-motorway scrambles:



 

San Haress, Markers go on to play a couple of dates in Brighton and Leeds on the cusp of April and May with American “dark-indie” band Jaye Jayle. Formed in Louisville around onetime Young Widows songwriter Evan Patterson and with other personnel sporting a history including The For Carnation, Freakwater, and Phantom Family Halo, Jay Jayle connect American roots music and Southern Gothic musical sensibilities with drone, garage rock, and bits of kosmische analogue-tronic drive (much of it brought by Corey Smith’s “auxiliary instrumentation”). They’re an exciting thrumble of Velvets-y deathmarch, down-home fucked-up country backroads, factory sirens, momentary blackouts and haunted, incoherent confessionals. They sing the songs of drifters on long, dark trips; of people in back-prickling situations; and of people who’ve picked at the scabs of guarded obscure places just enough to show you why you shouldn’t pick at any more of them. Jay Jayle are compelling. I think I’ll be back to give them another listen.



 

Also on hand at the first of those two shows – the one in Brighton – is Nick Hudson’s own home-grown take on the “psychedelic dystopian gnostic-Gothic post-punk” approach, The Academy Of Sun. Some overlap with Jay Jayle’s sound, perhaps, but quite a bit more verbose and self-consciously literary, to be honest. Somewhere between Johnny Cash and dark cabaret, with a dash of biting chanson – but then as Brightoneers they’re not much more than a stone’s throw away from either the sea or Nick Cave (and, judging by the sound of this, from a mouldering salt-stained stack which when pulled apart bursts into a sprawl of old Furniture records and bright West Coast glad-rags).



 
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Dates:

Markers & Haress on tour:

  • Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England – Tuesday 26th February 2019, 8.00pm(Markers album release gig, also featuring Anji Cheung) – information here, here and here
  • JT Soar, 2 Aberdeen Street, Nottingham, NG3 1JB, England – Friday 15th March 2019, 7.30pm(also featuring Caius Burns) – information here
  • The Triangle, 47 Bradford Road, Shipley, Bradford, West Yorkshire, BD18 3DS, England – Saturday 16th March 2019, 7.00pm (also featuring Tom House + Aby Vulliamy) – information here
  • The Old Brazilian Embassy, somewhere in Liverpool, England – Sunday 17th March 2019 – ask around for information

Haress + Tom House + Motes
The Old England, 43 Bath Buildings, Bristol, BS6 5PT, England
Thursday 14th March 2019, 8.00pm
– information here

Jay Jayle and Markers:

 

February 2019 – upcoming gigs in London and Sunderland (folk, country, etc.) – Mally Harpaz and Valeria Pozzo in London (12th); a resurgent Bill Jones in London and Sunderland (16th & 20th February); Sarah Jane Scouten in London (18th February)

4 Feb

Mally Harpaz + Valeria Pozzo, 12th February 2019

On Tuesday next week, there’s yet another chance to see sometime Anna Calvi drummer/harmoniumist Mally Harpaz present her solo composer side, via live performances of her soundtracks for Clara Aparicio Yoldi’s video-art extrapolations from classic paintings. Debuted a little over a year ago (and revisited a couple of times since then, they’re post-classical piano-centric mood pieces. Various guests will be joining Mally as part of her ensemble – in the past, these have included Mark Neary, Hazel Iris, Ciara Clifford, Jessica Lauren, Eran Karniel and, indeed, Anna Calvi (a close friend rather than an employer, and one who repays loyalty).

 
As for the future, Mally is still incubating her intended debut album, with two brooding instrumentals having broken cover on Soundcloud two years ago – glowering Gothic impressionism for piano, drum and ghost guitar, dabbed with synth strings and wordless soprano wails. You can hear the imprint of mediaeval-toned cinema epics, Dead Can Dance, some of the foggier Braonáin-isms… but someone really needs to let this woman loose on a New Weird Britain film about a haunted pantry somewhere in the New Forest. Something nasty, with a scary cutlery drawer.


 
As she usually does, Mally is presenting this as part of one of her “off-the-beaten-track” Blind Dog Studio evenings, which also showcase other performers. In the past these events have often favoured under-the-radar female singer-songwriters with impressive multi-instrumental abilities. This month’s show is no exception, featuring Valeria Pozzo.

Originally from Italy, Valeria currently floats in that strangely nationless zone of acoustic jazz pop, where it’d be difficult to tell where she was from unless you asked. She’s the possessor of handy guitar and violin skills as well as being the owner of a supple voice; and from what I’ve heard of her so far she’s hovering on a cusp where she could either carve out a comfortable career supplying smooth, edgeless jazz-folk entertainment at upscale pizza restaurants or take a couple of small, delicate gambles and persistently deliver songs which could turn heads and stop jaws champing.

I much prefer it when she does the latter: easing subtly strange chordings and tunings into her work, adding an extra dimension. Not necessarily unsettling, let alone perverse, but providing a deepening, an extra quality of storytelling undercurrent. What would be, if she dealt in written stories, the story beyond the words: the bit that crept up on you.


 
Valeria’s also making another appearance later in the month, this time at Rami Radi’s Laid Bare At the Ritzy acoustic night in Brixton; where she’ll be appearing with assorted other south London singer-songwriters including post-Damien Rice caroller Archie Langley, Berlin-born acoustic soulster Adwoa Hackman and her white-soul-boy-next-door counterpart Josh Collins. As a bill it’s got its moments, but it’s a little too generic for me to say much here, to be honest; although George Pelham’s buttery lite-soul voice and apparently effortless shuffling of McCartney, Prince and Elton John songwriting sounds pretty good. I’m also going to go back sometime and have a closer listen to the coastal autoharp folk of Olive Haigh – the deliverer of a cute, winsome sound with a garnish of eerie weirdness which becomes more apparent the more you listen (slightly magical/slightly sinister fairytale undertones, and a subtle use of sound embellishments from fiddle slides to pebble rattles).

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Bill Jones, 16th February 2019

There was a time in the early 200s when Bill Jones looked set to be a British folk star with the profile of someone like Kate Rusby – upfront, nicely turned out, fairly straightforward and with her folk scholarship gently on display. (These days it seems to matter less whether you gained it at lockins or at university, though plenty seem to study at both of these schools. Bill was one of those who did both.)

My own initial memories of Bill are wilder, woollier and from a bit further back: from when she was singing loud, pure backing vocals from behind an accordion as an anchoring part of The Wise Wound, who have generally been snootily dismissed as “an indie band” in accounts of Bill’s prehistory but whose absorbing, sometimes frustrating work was more like a remarkable psychedelic quilt being disgorged through a chamber folk-funnel. Back then (still going through formative years) she was something of a band secret weapon: a dark horse who stood apart from the friendly-frictional mental wrestling and gag-cracking that made up much of the Wise Wound’s offstage behaviour, while secretly fostering a great deal of the charm that served her well when she eventually found her own voice and went solo.

It was interesting seeing Bill afterwards, since she was still something of a dark horse: managing to pull off (possibly unwittingly) the trick of being entirely open while remaining entirely enigmatic. Even when revealing something personal in song (such as her family’s Anglo-Indian Darjeeling heritage, as laid out a capella in the title track of 2001’s ‘Panchpuran’) she sometimes seemed less of a conversationalist in what she sang than a conduit, like the flute she also plays. Her sleekly-groomed picture-book folk sometimes made use of the varnished production of pop, but without any concessions or vulgarities; and there was certainly always a sense that while Bill was friendly and loved her craft, she was also keeping a careful reign on the interplay of life and music.

Bill Jones, 20th February 2019At any rate, after three increasingly well-received albums (plus a live record, an odds-and-sods collection and a trinational collaborative project and tour with Anne Hills and Aoife Clancy), Bill turned away from the road and the spotlight; taking the option of stepping back, while still in her twenties, in favour of home-life in Sunderland, teaching and raising a family. She hasn’t been completely absent from the stage since. Folk-music teaching has less differentiation between instruction and performance; plus there were a couple of 2016 support slots in Tokyo for Flook and a number of low-key charity gigs for Antenatal Results & Choices (a cause close to Bill’s heart).

Now, however, she’s mounting a more substantial comeback, with a new album – ‘Wonderful Fairytale’ – finally arriving this coming May and various folk festival appearances scheduled for England and the United States later in the year. The first sightings are a new song, My Elfin Knight, and a pair of February dates accompanied by violinist/viola player and album buddy Jean-Pierre Garde. Between them, incidentally, the gigs indicate the affable but borderline incompatible polarities of British folk music. The London show in the churchy environs of The Gresham Centre can’t help but come with a bit of lofty gloss (canonicity, scholarliness, high-culture), while the Sunderland hometown gig is much more down-to-earth (a Whitburn Village Heritage Society do at a cricket club which also features floor spots from local singers).

I don’t know whether Bill makes much of these differentiations, or whether the contrast makes her laugh. As far as I can see, she’s just getting on with the music. Here’s the video for My Elfin Knight, which shows that she’s lost nothing in the intervening time: musically, still as sleek as a seal and cool as an early autumn evening. If anything’s changed, it’s the emotional freighting: the passing years seem to have laid an extra presence on her, with the sense of unspoken things lurking closer behind the song.


 
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Among the Nest Collective events popping up for early 2019 is a show by Canadian country folker Sarah Jane Scouten – another artist with firm groundings in tradition plus the willpower to bring it to a fresh new audience. As with the spill of characters around the Laid Bare evening, I can’t say much for Sarah in terms of originality, or in terms of her bringing much that’s new to the table, but with her neither of these things need to matter.

Sarah Jane Souten, 18th February 2019

What does matter is how she takes her chosen song-form back into her corner (a genre that’s still too young to be ossified but is still too easy to render cheesy) and how she refreshes it. Rather than a young revolutionary, Sarah’s a restorer and a reconfigurer: someone who can already turn out classic-sounding songs to fit the canon, and who can personify its ongoing traditions in a way that looks forced and creaky on a rock performer but sits surprisingly well on a country figure. Maybe it’s the storytelling side of things – as with traditional folk, stories get picked up, dusted off and recast in country, rolling on like a wheel. At any rate, Sarah’s consistently impressive, whether she’s turning out honky-tonk or delivering typically countryesque tales of rural life, bereavement and memory with songs such as the recent single Show Pony. She might not be showing you where country is going, but she’ll certainly show you where it will always be coming from.

 
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Dates:

Blind Dog Studio presents:
Mally Harpaz + Valeria Pozzo + guests
Hundred Years Gallery, 13 Pearson Street, Hoxton, London, E2 8JD, England
Tuesday 12th February 2019, 7.30pm
– information here and here

The Nest Collective presents:
Sarah Jane Scouten
The Slaughtered Lamb, 34-35 Great Sutton Street, Clerkenwell, London, EC1V 0DX, England
Monday 18th February 2019, 7.00pm
– information here, here and here

Bill Jones:

  • Gresham Centre, St Anne And St Agnes Church, Gresham Street, Barbican, London, EC2V 7BX, England – Saturday 16th February 2019, 7.30pm – information here and here
  • Whitburn Cricket Club, The Village Ground, Sunderland, South Tyneside, SR6 7BZ, England – Wednesday 20th February 2019 – information here and here

Laid Bare At the Ritzy presents:
George Pelham + Adwoa Hackman + Olive Haigh + Josh Collins + Valeria Pozzo Trio + Archie Langley
Upstairs at The Ritzy, Brixton Oval, Coldharbour Lane, Brixton, London, SW2 1JG, England
Wednesday 27th February 2019, 7.30pm
– information here
 

January/February 2019 – upcoming classical gigs around Britain and Ireland – Nonclassical’s Battle of the Bands (23rd January); Scordatura’s Clara Schumann evening (3rd February); Gyða Valtýsdóttir’s ‘Epicycle’ tour (29th January to 3rd February)

18 Jan

Nonclassical open their year with their annual Battle of the Bands at their live homebase in Hackney’s Victoria performance pub. Six competitors will be duking it out for industry attention and more Nonclassical gig opportunities. As usual, they’ve been chosen from the permeable space where contemporary classical touches on other musical forms, on other arts and on current concerns.

Nonclassical: Battle of the Bands, 23rd January 2019

There will be two solo performers. Woodwind specialist James Hurst will be swapping between alto saxophone and alto recorder to perform his own ‘The Descent of Ishtar To The Underworld’, a guided, Bronze Age-inspired improvisation. Reylon Yount, a San Franciscan Chinese-American yangqin player and member of Yo-Yo Ma’s Silk Road Ensemble, will be performing the diasporan-influenced sound exploration ‘Rituals and Resonances for Solo Yangqin’ by Chinese-British composer Alex Ho, which “attempts to engage with the paradoxical sense of nostalgia one may feel for a place one did not grow up in” via “an exploration of the relationship between sound and its resonance.”



 
Three collectives are also competing. Chamber ensemble Scordatura Women’s Music Collective champion and perform the work of female composers, both living and dead: on this occasion, they’ll be performing ‘Las Sombras de los Apus’ by Gabriela Lena Frank, a cello quartet in which each instrument plays in a different tuning. The recently-formed New Music group 4|12 Collective will be playing James Saunders’ Instruments with Recordings (with a lineup of viola player Toby Cook, flautist Epsie Thompson, accordionist Giancarlo Palena, bassoonist Olivia Palmer-Baker, trombonist Benny Vernon and tuba player Stuart Beard).

Rita Says & The Jerico Orchestra (performing Paragraph 7 of ‘The Great Learning’ by Cornelius Cardew) have been around a little longer: over the past decade, they’ve been working at “defin(ing) a connection between fine art performance practise and the history of contemporary music”, exploring a spontaneous blend of physical action and visual interaction to create and conduct pieces.


 

Finally, there’s composer/performer and Filthy Lucre co-founder Joe Bates, who pitches his camp on the faultline between contemporary classical music and avant-rock, hip hop and electronics; and whose artistic interests include “desire at a remove” and “the decline of classical music’s social prestige and the possibilities for its future.” His music blends contemporary classical structures and instrumentation options with “intense, still, driven riffs” and harmonies from rock and other pop forms. On this occasion, he’ll be playing pieces from his microtonal synthesiser suite/EP ‘Flim Flam’.

 
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If you’re sympathetic to Scordatura’s role as feminist music historians and curators, you might like to know that they’re popping up again in Abingdon, Oxfordshire in early February – as part of the Abbey Chamber Concerts series.

Scordatura, 3rd February 2019

Their 3rd February gig, titled as “Celebrating Clara” (and utilising a shifting duo/trio/quartet formation of clarinettist Poppy Beddoe, violinist Claudia Fuller, cellist Rachel Watson and pianist Thomas Ang) ostensibly showcases Clara Schumann, the similarly talented but undervalued composer-pianist married to Robert Schumann. They’ll be playing one Schumann piece – the Piano Trio in G minor – and possibly some of her clarinet work, but the remaining programme slots are given over to the work of other female composers. Contemporary composer Cecilia McDowall’s chamber piece ‘Cavatina at Midnight’ is followed by the Victorian ‘Piano Suite in E major’ by Clara Schumann’s contemporary Ethel Smyth.

The last piece is by Fanny Hensel ( ‘Fantasia for Cello and Piano’) a.ka. Fanny Mendelssohn, whose life was a sometimes-uncomfortable reiterating mirror of Clara’s. Both were similarly talented intimates of established composers (one a wife, the other a sister); both had surprisingly encouraging husbands; both were also tutored and driven by demanding fathers who established excellence in them. Both, too, were ultimately constrained as composers by the discouragements and domestic responsibilities forced upon women of their times, with the men in their families often acting with a frustrating mixture of systematic positive pressure and patriarchal forbiddings. (Felix Mendelssohn, for instance, was a devoted, championing brother who found that he drew the line at Fanny entering the canon of published composers.)

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Gyða Valtýsdóttir 'Epicycle' tour (Britain/Ireland), January/February 2019Overlapping these two concerts is a British/Irish mini-tour by Gyða Valtýsdóttir – still known as the former cellist for Iceland experimental pop band Múm even though she only played on two of their albums and has been out of the band for sixteen years.

Having immediately returned, post-Múm, to her classical roots (formally studying, graduating and applying herself to classical cello) Gyða’s spent the time since then in the genre-stepping world of the modern post-classical musician. Outside of the classical gigs, rent-paying but artistically respectable engagements adding stringwork to records or tours by Sigur Ros’ Jónsi, Damien Rice and Colin Stetson have alternated with assorted film, dance, theatre and installation music around the world, as well as bouts of free improvisation gigs. Allied with her twin sister and ex-Múm bandmate Kristín Anna, Gyða also added a “reciprocal twin” component to Aaron and Bryce Dessner’s 2015 song cycle ‘Forever Love’, conceived and delivered with performance artists Ragnar Kjartansson.

Although Gyða’s latest personal release (last year’s ‘Evolution’) features her own compositions and a return to her Múm-era multi-instrumentalism – and although some of those songs will get an airing – this tour focusses mostly on her 2017 solo debut ‘Epicycle‘, a two-millennia-spanning exercise in musical commonality and reconfiguration originally intended as “a gift for friends” on which Schubert, Schumann and Messiaen rub shoulders with Harry Partsch, George Crumb, Hildegard von Bingen and the nineteen-hundred year old Seikilos Epitaph. The album was an Icelandic smash hit and a talking point elsewhere: a classical debut recorded with the immediacy of a jazz record and with a broad-minded disregard for purity, bringing in upfront studio processing techniques and stylings/instrumental responses from other traditions from jazz to ancient folk to experimental post-rock.

On tour, she’s performing with her Epicycle trio, also featuring multi-instrumentalist Shahzad Ismaily (on guitar, synthesizer, percussion and anything else which needs playing) and drummer Julian Sartorius, both of whom played on the record.




 
* * * * * * * *

Dates:

Nonclassical presents:
Nonclassical: Battle of the Bands
The Victoria, 451 Queensbridge Road, E8 3AS London, United Kingdom
Wednesday 23rd January 2019, 8.00pm
– information here, here and here

Abbey Chamber Concerts present:
Scordatura: Women’s Music Collective: ‘Celebrating Clara’
St Nicolas’ Church, Market Place, Abingdon-on-Thames, Oxfordshire OX14 3HF
Sunday 3rd February 2019, 3.00pm
– information here, here and here

Gyða Valtýsdóttir – ‘Epicycle’ tour:

  • Norwich Arts Centre, 51 St. Benedicts Street, Norwich, NR2 4PG, England, Tuesday 29th January 2019, 8.00pm – information here, here and here
  • Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England, Wednesday 30th January 2019, 7.30pm – information here and here
  • The Metropolitan Arts Centre, 10 Exchange St West, Belfast, BT1 2NJ, Northern Ireland, Thursday 31st January 2019 – no further information
  • Dublin Unitarian Church, 112 Saint Stephen’s Green, Dublin, D02 YP23, Ireland, Friday 1st February 2019, 8.00pm – information here and here
  • Summerhall, 1 Summerhall, Edinburgh, EH9 1PL, Scotland, Sunday 3rd February 2019, 8.00pm – information here and here

 

January 2019 – upcoming London jazz gigs – memories of black resistance and striving in Elaine Mitchener’s ‘Vocal Classics Of The Black Avant Garde’ (7th January) and Rufus Reid’s ‘Quiet Pride’ (29th January)

3 Jan

This month, there are two very different opportunities to immerse yourself in historical music stemming from black resistance and the American civil rights struggle; the conflation of brutual oppression, storms, suffering and self-assertion which inform today’s #BlackLivesMatter movement.

One of these events is an edgy art-scream of vintage fighting classics, happening inside a rough-walled underground music stronghold. The other features music that’s barely seven years old, takes place in a lofty varnished orchestral concert hall at the heart of the British classical music world, comes varnished by a couple of Grammy nominations and represents the other end of the struggle: more well-spoken, staunchly dignified, talking back at the oppressor in something closer to his own language on his own terrain.

Would each of these efforts give the other house room? I’d like to think that they would.

* * * * * * * *

'Vocal Classics Of The Black Avant Garde', 7th January 2019

Tireless vocal/physical-movement improviser and conceptual explorer Elaine Mitchener returns to Café Oto with a revival of her ‘Vocal Classics of the Black Avant Garde’ project (originally compiled and performed for the London Festival of Contemporary Music at the end of 2017). Re-examining 1960s and 1970s works composed by Eric Dolphy, Archie Shepp, Joseph Jarman and Jeanne Lee, it studies and recreates “the overflow of experiment that occurred within improvised music, often springing directly from lived experiences of racial injustice… combin(ing) vocals and text with experimental jazz forms.”

Musical direction for the evening will come from reknowned saxophonist Jason Yarde – an improviser-composer who steps confidently between jazz and conservatoire culture. He’ll be at the head of a band consisting of pianist Dominic Canning, Elaine’s regular bassist Neil Charles, trumpeter and flautist Byron Wallen and the consistently staggering drummer/percussionist Mark Sanders. It’s a little unclear as to whether Elaine’s regular sparring partner Alexander Hawkins will be joining in on keyboards this time, but expat American poet Dante Micheaux is down to join Elaine on spoken/sung word.

Joseph Jarman

Joseph Jarman

It’s safe to say that while this music’s around fifty years old now, the content’s not going to be cosy. Expect some old wounds, some revolutionaries’ pride and some old fire to be raked over and rekindled. As Elaine writes, “these works illuminate an occluded moment in American cultural history, when the avant-garde aesthetics of new jazz doubled as a metaphor for the imminent politics of civil rights.

“Composed in very specific response to the perilous condition of black people in America, the works’ synthesis of experimental sensibilities, radical political sentiment, and gutbucket expression cuts across boundaries of time and space to resonate universally in the here and now. In the era of #BlackLivesMatter, these works speak powerfully of the need for resistance and resilience, sound stark and original, their hypermodernism firmly rooted in vernacular tradition.”

It doesn’t seem that anything of the previous show’s been recorded (or if it has been, it’s not been released), so here’s a little from one of Elaine’s previous projects as an indicator; plus a little Shepp, Lee and Jarman.





 
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Reminding us that the politics of dignity and survival (and the business of conveying an urgent message) comes in many different forms and tones, African-American double bassist Rufus Reid is reviving his 2012 jazz orchestra suite ‘Quiet Pride’ in London later in January. A limber, elegant musician and composer with profound roots in classical trumpet and bass, Rufus (like Jason Yarde) also straddles the worlds of jazz and music education with equal enthusiasm, grace and fervour. He has been playing in both small and sizeable jazz groups since the late ‘60s and composing for about the same length of time, moving into the world of large-scale compositions in 2011 with his symphonic orchestral work ‘Mass Transit’.

Rufus Reid (photo © Jimmy Katz)

Rufus Reid (photo © Jimmy Katz)

‘Quiet Pride’ was written to honour and illustrate the work of late African–American sculptor and printmaker Elizabeth Catlett, and Rufus has taken it around the universities and culture halls of the USA whenever possible. This particular performance of the suite will be rendered by the Guildhall Jazz Orchestra under the direction of London jazz composer and educator Scott Stroman (with, I think, Rufus as conductor). While Rufus prefers to play alongside or surrounded by actual Catlett prints and sculptures for honour, reflection and continuity, there aren’t any to hand at the Guildhall and so the performance will be accompanied by projected Catlett images.


 
Set against the Oto show, it could be tempting to decry this as bourgeois slickness, a birch-and-beech art gallery indulgence co-opting jazz into the spaces of white power structures or celebrating some kind of house-Negro ethic. That would be unfair, shallow and revolting. To dispel that kind of wretched political preciousness, consider Elizabeth Catlett’s actual life; the source of her art and the ultimate inspiration for Rufus’ humming, quick-footed, assertive music in which (according to ‘All About Jazz’s Dan Bilawsky) “chamber-esque civility can give way to a feeling of uncertainty which, in turn, can morph into swing. Focus shifts from the textural to the rhythmic, the background to the foreground, and the subtle to the obvious. The music is mutable and multifaceted but that’s not really surprising; sculptures can take on different meaning when viewed from different angles so the music should certainly do the same.”

A pioneering presence as both a black and a female sculptor in America (at a time when few of either were to be found – or, more pertinently, allowed) Elizabeth perpetually fused art and activism, mostly through effort and moral choices. Flat-out rejected as a scholar by the Carnegie Institute of Technology due to her skin colour; struggling against direct, demoralising racist university policies while studying for a Masters in Iowa (and, later on, being stripped of her American citizenship as a result of her Communist associations and her gestures of solidarity with striking Mexican railway workers), hers is a story of personal industry, profound ethical responsibility, and effort against the odds.

Her time in Mexico (where she settled for much of her life, first learning and subsequently teaching) was also the catalyst for the crystallizing of her artistic vision, uniting her early influences of Henry Moore, Diego Rivera and pre-Columbian American sculpture with a commitment to combining aspirational concepts of strength and fierce dignity with representative figure forms. “I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful” she’d assert, later. “I have always wanted my art to service my people — to reflect us, to relate to us, to stimulate us, to make us aware of our potential.”



 

Elizabeth’s figures and prints survive her and bear witness to her particular vision. Emblematic of black dignity, of powerful maternal femininity, of a refusal to be chained down by prejudices and programmes, they cradle their children; staunchly assert their curves; stand straight-backed, defiant and admirable; reveal the hidden or overlooked complexities of the black mind and sense of self; or punch the air as a simple, stark and meaningful mark of resistance. They’re already, in their way, as direct and as intricate as jazz: something which Rufus clearly understood from the start and has strived himself to bring across in music.


 
Dates:

Elaine Mitchener Projects presents:
Vocal Classics of the Black Avant Garde: Jason Yarde + Elaine Mitchener + Mark Sanders + Neil Charles + Dante Micheaux + Byron Wallen + Alexander Hawkins
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Monday 7th January 2019, 7.30pm
– information here and here

Guildhall Jazz Orchestra/Rufus Reid/Scott Stroman: ‘Quiet Pride – The Elizabeth Catlett Project’
Milton Court Concert Hall @ Guildhall School of Music & Drama, Silk Street, Barbican, London, EC2Y 8DT, England
Tuesday 29th January 2019, 7.30pm
– information here, here and here
 

December 2018 – upcoming London classical gigs – Shiva Feshareki’s turntablist ‘Firebird’ (6th December); a celebration of female choral composers for Christmas in Muswell Hill (8th December); Keith Burstein’s chamber music (14th December); Plus Minus play Armstrong, Franzson, Miller and Rodgers (18th December)

1 Dec

Some December classical manifestations of various kinds…

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'Shiva Feshareki: Late-Night Firebird', 6th December 2018

As part of the ongoing Spitalfields Music Festival, composer and turntablist Shiva Feshareki will be performing her own vinyl-manipulation rebuild of Stravinsky’s ‘Firebird’ in Bethnal Green on the 6th December- as “a live turntable composition that she forms in the moment. Using her trademark turntabling techniques, she deconstructs Stravinsky into new forms and perspectives, using nothing other than the original composition on vinyl. Expect sonic manipulations that bend time and play with space and perspective, transforming The Firebird into new shapes that reveal its sculptural depths.”

Here’s the woman at work on various projects over the last two years: there’s a clip from her saxophones, ensemble and turntables concerto about four minutes in…


 
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Fortismere Community Choir: 'Composed By Women & Christmas Carols', 8th December 2018

Fortismere Community Choir: ‘Composed By Women & Christmas Carols’, 8th December 2018

On the same night, in north London, Fortismere Community Choir will be performing a concert mingling standard Christmas carols with music composed by assorted female composers. Alongside the tunes about mangers and heralding angels, you can expect to hear a programme of music stretching (in varied leaps) across a thousand years, from the mediaeval carnal/spiritual chant of Hildegard von Bingen‘s ‘O quam mirabilis est’, the Romantic grace of Clara Schumann‘s ‘Abendfeier in Venedig’ and Ethel Smyth’s 1920s suffrage anthem ‘March of the Women’.

There are also latterday works – the reinvented English chorale influences of Cecilia McDowall‘s ‘Ave Maris Stella’; the fusion of African-American spirituals, American art songs and German/Italian choral music tradition in Rosephanye Powell‘s ‘Glory Hallelujah’; and the world premiere of ‘Women’s Rights’, a new composition by an emergent young British contemporary composer, Phoebe McFarlane.

Examples of most of the programme below:






 
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'Keith Burstein. Chamber Music. The Beauty Power.' Friday 14th December 2018On the 14th, composer Keith Burstein returns to Waterloo’s 1901 Club for another lunchtime concert featuring an hour’s worth of Burstein piano and chamber music.

Some new pieces will be making their debut, with the trio lineup of cellist Corinne Morris, clarinettist Peter Cigleris and Keith himself on piano joined by mezzo-soprano Sarah Denbee on the sarcastically-titled Northern Irish Backstop March, and Keith also presenting the live premieres of his piano preludes ‘The Beauty Power’, ‘Sonata’ and ‘Moto Perpetuo’. In addition, there’ll be the piano/clarinet/cello trio ‘Memories of Lithuania’, the ‘Wiosna’ cello sonata and a fourth piano prelude (‘The Ferryman’) while the concert will open with Keith and Sarah performing four songs for mezzo soprano and piano (‘Longing’ and ‘Heaven Riven’, both originally from the ‘Songs of Love and Solitude’ cycle, plus ‘Futility’ and ‘Atonement’).

This summer’s performances of Keith’s latest opera ‘The Prometheus Revolution’ seems to be contributing to pulling him out of the relative critical cold he’s often labored under. He’s now being hailed for the “sheer fertility” of his melodic instinct by ‘Planet Hugill’, and received approving notes from venerable critic Meiron Bowen regarding his revitalization of “the virtues of pre-twelve-tone music and all the techniques that have been explored since.” You can choose whether or not you buy into his vigorous philosophy of “super-tonalism” (within which Keith reasserts the tonal idiom which he considers to have been steamrollered out of credibility by the more cultish aspects of serialism and atonalism, while also aiming to blend in other musical lessons learned throughout the twentieth century). What isn’t in question is his connection to direct expression, and to creating music with an accessible human connection, as is evident from the pieces below. (You can read a longer summary of Burstein music in my preview of last year’s 1901 December chamber concert here.)




 
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Plus Minus: 'Armstrong, Franzson, Miller, Rodgers', 18th December 2018

On the 18th, the Plus Minus ensemble returns to its regular concert berth at City University for an evening of instrumental music with electronics by “four of the most refined and distinctive voices in contemporary music”, in a more straightforward form than their recent, more performative tour. Ensemble member Newton Armstrong provides two pieces (‘thread—surface’ and ‘the way to go out’), while his former student Georgia Rodgers provides one (‘St. Andrew’s Lyddington’). The remaining two pieces are ‘Traveller Song‘ by Cassandra Miller (whose compositional sense was described by ‘Musicworks’ as “the wryness of Samuel Beckett in combination with the whimsy of Italo Calvino”) and a new, as-yet-unrevealed work by New York-based Icelandic composer Davíð Brynjar Franzson (whose compositions are characterised by “an installation character, transporting the listener into some sort of temporal limbo, where a sense of the static is layered with delicate inner quickening…. exquisite tangible tension.”).

According to the programme notes, “each of these composers is concerned, albeit in different ways, with the fundaments of the compositional act and the manner in which sonic materials can be contextualised, processed, layered and transcribed. Plus Minus aims to present an evening of music that is strikingly contemporary without recourse to outside references, current technologies or multimedia. it is a focussed program that seeks to sonically take stock of where we are in new music today by stripping back the layers so that only the sound remains.” This is a free event with limited capacity, so book for it soon.

 
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Dates, times, places and links:

  • Shiva Feshareki: ‘Late-Night Firebird’ – St John on Bethnal Green, 200 Cambridge Heath Road, Bethnal Green, London, E2 9PA, England, Thursday 6th December 2018, 9.30pm – information here
  • Fortismere Community Choir: ‘Composed By Women & Christmas Carols’ – St Andrews Church, Church Crescent, Muswell Hill, London, N10 2DD, England, Saturday 8th December 2018, 7.30pm – information here and here
  • Keith Burstein/Corinne Morris/Peter Cigleris: ‘Keith Burstein. Chamber Music. The Beauty Power.’ – 1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England, Friday 14th December 2018, 12.00pm – information here and here
  • Plus Minus: ‘Armstrong, Franzson, Miller, Rodgers’ – Performance Space, College Building @ City, University of London, St John Street, London, EC1V 4PB, England, Tuesday 18th December 2018, 7.00pm – information here and here
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